Eternal 松田聖子

In 2019, Spanish progressive/melodic death metal band Eternal Storm released their debut full length 'Come the Tide, which was a shockingly accomplished, poignant and evocative album which many still regard to be one of the highlights in the style. Four years later, after working meticulously to hone their sound even more, they return having fulfilled a seemingly impossible task - to come up with a worthy follow up album, one that doesn’t betray the sound nor dilute it. On 'A Giant Bound to Fall', shattering the apprehensions, they've actually taken the sound further ahead; it's far more nuanced, multifaceted and even feels darker. The emotions are just as palpable as before but are rawer, more piercing, and the heightened extreme parts are not at the expense of their immersive atmospheric ones…

In 2019, Spanish progressive/melodic death metal band Eternal Storm released their debut full length 'Come the Tide, which was a shockingly accomplished, poignant and evocative album which many still regard to be one of the highlights in the style. Four years later, after working meticulously to hone their sound even more, they return having fulfilled a seemingly impossible task - to come up with a worthy follow up album, one that doesn’t betray the sound nor dilute it. On 'A Giant Bound to Fall', shattering the apprehensions, they've actually taken the sound further ahead; it's far more nuanced, multifaceted and even feels darker. The emotions are just as palpable as before but are rawer, more piercing, and the heightened extreme parts are not at the expense of their immersive atmospheric ones…

A pretty wild set of experimental work from mid 70s Japan – as you might guess from the name of the group! The lineup actually features a young Ryuichi Sakamoto on piano, but his work on that instrument is often overshadowed by the electronics and keyboards, and heavy guitar at some points – soaring out out with plenty of fierce fuzz and distortion when needed! Yet there's also a lot more going on here than just guitar and keyboards – as the tracks are all quite long, and go through lots of offbeat trippy changes that might be right at home with the Velvet Underground generation – not in a similar sound, but definitely in a similar spirit. All three long tracks are in Japanese – and the album's definitely a wild blend of psych, electronics, and other experimental modes.

After years of playing a dispiriting game of musical chairs with various lead singers during the early '80s, Black Sabbath guitarist Tony Iommi finally stumbled upon a dependable frontman when he admitted relative unknown Tony Martin into the fold, thereby initiating the original heavy metal band's long awaited return to respectability – if not chart-topping success. Martin joined the oft-interrupted sessions for what would become 1987's The Eternal Idol album already in progress, stepping in for an unreliable Ray Gillen when the latter moved on to Jake E. Lee's Badlands, and helping Iommi rescue an astonishingly solid long-player from the jaws of complete and utter chaos.

After years of playing a dispiriting game of musical chairs with various lead singers during the early '80s, Black Sabbath guitarist Tony Iommi finally stumbled upon a dependable frontman when he admitted relative unknown Tony Martin into the fold, thereby initiating the original heavy metal band's long awaited return to respectability – if not chart-topping success…

Collecting material from 1990 through till 2002, this disc probably won't get Ozric hardcorers excited but it will connect some mild enthusiasts with material they may have otherwise missed out on if Erpland is the only thing they know.

Freddie Hubbard & Woody Shaw - The Eternal Triangle (1988) {Blue Note CDP 7480172 rec 1987}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 323 Mb | MP3 @320 -> 135 Mb
Full Artwork @ 300 dpi (jpg) -> 25 Mb | 5% repair rar
© 1988 Blue Note / Capitol | CDP 7 48017 2
Jazz / Hard Bop / Post Bop / Trumpet

No one should consider the pairing of great jazz trumpeters Freddie Hubbard and Woody Shaw akin to oil and water. Both are on fire, defer to each other's personalized sound, and swing hard with fervor, supported by an equally talented band featuring the always wondrous pianist Mulgrew Miller, bassist Ray Drummond, and drummer Carl Allen. The X factor is alto saxophonist Kenny Garrett, fresh off a stint with Miles Davis, who rounds out the overall sound and contributes a vital harmonic element to the double-edged swords Hubbard and Shaw wield. The eight tracks are balanced between originals by the co-leaders and compositions from their revered predecessors, all molded into straight-ahead, no-nonsense hard bop.